Knust Kunz Gallery Editions

Collage as Concept

Collage as Concept

Jack Pierson, Lari Pittman, and Daniel Richter

The idea of Collage is quite genuinely ingrained in the conceptual start of Modern Art. In 1912 Picasso opened the gate with “Still-life with Chair Caning” to integrate real life objects in a work of Art. The printed canvas started the dialogue of a painted still-life with a mass-produced representation, the work itself references the conditions of its creation.

Daniel Richter could be seen in a tradition of political collage work in the arts. He doesn’t shy away from using a variety of materials to convey a vivid framework for his pictorial, formal, and sociological research into figure and form.

Lari Pittman densely structured picture planes combine elements from a manifold universe in a painterly matter. His sources range from European and Colonial American aesthetics juxtaposed with indigenous cultural languages, represented in form and color decisions.

Jack Pierson has been mastering the wide range of visual pleasure and emotional wit with precise formal decisions. The print series “Twilight” spreads an emotionally highly charged personell of Hollywood movie stars in a meticulously produced print project.

Image Credit:

Jack Pierson, My Sin, 2010 (from Twilight, series with 14 motifs)

Collage is the noble conquest of the irrational, the coupling of two realities, irreconcilable in appearance, upon a plane which apparently does not suit them.

Max Ernst

Lari Pittman

Untitled

2019

47 x 38,1 cm (15 x 18.5 in.)

Screenprint on Coventry Rag 335 gsm

USD 2.800

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Lari Pittman

Untitled

2019

47 x 38,1 cm (15 x 18.5 in.)

Screenprint on Coventry Rag 335 gsm

USD 2.800

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Lari Pittman, from a suite of 5 screenprints, 2019

Lari Pittman

Untitled

2019

47 x 38,1 cm (15 x 18.5 in.)

Screenprint on Coventry Rag 335 gsm

USD 2.800

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Daniel Richter

Untitled

2019

59,4 x 42 cm (23,4 x 16,5 in.)

Screenprint (series of 11 screenprints)

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Daniel Richter in the studio, photographed by Hanna Putz

Daniel Richter

Untitled

2019

59,4 x 42 cm (23,4 x 16,5 in.)

Screenprint (series of 11 screenprints)

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Daniel Richter

Untitled

2019

59,4 x 42 cm (23,4 x 16,5 in.)

Screenprint (series of 11 screenprints)

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Jack Pierson, Pink Badlands, 1992 (self-portrait)

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Desperate

Jack Pierson

2010

76 x 102 cm (29,9 x 40 in.)

Silkscreen, archival pigment print and collage (Twilight, series with 14 motifs)

Jack Pierson

Bullshit

2010

76 x 102 cm (29,9 x 40 in.)

Silkscreen, archival pigment print and collage (Twilight, series with 14 motifs)

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Jack Pierson, born in 1960 in Plymouth, Massachusetts, is a multi media artist, working with photography, painting, installation, and collages. Connected to the Boston School of Photography, Pierson's photographic language moves between blurred landscapes, homoerotic portraiture, and a transported feeling of 1980s American Road Movies. His approach to his letter wall installations and collages mostly stand in stark contrast to this softness. While maintaining a complex glamour, the use of specific slogans or words evoke a direct approach to the viewer. Jack Pierson's work is included in numerous museum collections such as the Museum of Modern Art, New York, Los Angeles Museum of Modern Art, the Art institute Chicago, and the Metropolitan Museum of Art.

Lari Pittman was born in 1952 in Glendale, California. In 1976 he graduated from the California Institute of the Arts, and since 1993 he is teaching as a Professor of Fine Arts at the University of California. Pittman started experimenting with collage during his early years of study. Though characterized by a high concentration on detail, his work holds a narrative of a rich iconography, telling both personal and societal stories.
Lari Pittman's body of work has been shown in numerous important exhibitions, such as Documenta, the Whitney Biennal, the Venice Biennale, and most recently within a comprehensive retrospective at the Hammer Museum, Los Angeles.

Daniel Richter, born in 1962 in Eutin, Germany, studied painting under Werner Büttner in Hamburg and later became assistant to Albert Oehlen.
Moving from an early abstract approach to figurative painting, collage and print making, Richter's often color intense and expressive works suggest a psychedelic and artificial yet very current vitality. His graphic oeuvre is also characterized by the reaccuring duality of word and image. Daniel Richter has been exhibited in several solo exhibitions at institutions like the Louisiana Museum, Humblebaek, Schirn Kunsthalle Frankfurt, and the Denver Art Museum.

Knust Kunz Gallery Editions

can be reached at:

0049-89-29160703

Ludwigstrasse 7, 80539 Munich, Germany

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